1899 early review: Dark creators Netflix show has (musical) problems

1899The latest television show by the creators DarkFrom the beginning,, was a puzzle. The show’s beginnings are a puzzle. As the characters — all trapped on a steamer sailing from London to New York where reality seems to warp — circle each other they are understandably wary. There is no such thing as the Kerberos, and it appears that reality is shifting away from every second.

In the real world, 1899There is one aspect that’s incredibly simple: the music selection. And in this case, that’s not a good thing.

Every chapter 1899 comes to a close the same way: a steady amping up of the puzzle of the show, a small reveal (even if it’s not particularly revealing about the show’s central, or even auxiliary, mysteries), and a classic rock needle drop. These are annoying and distracting.

Part of that annoyance is it doesn’t feel like anyone reached for anything beyond the most obvious choices. “White Rabbit” by Jefferson Airplane is a classic for a reason, with its methodical drumbeat balancing out the chaotic madness of Wonderland metaphors. Because of this, the song is often used in every situation, at all times. You can make the same case against episode 6’s “All Along the Watchtower” (Jimi Hendrix edition), or “The Killing Moon” in episode 3, and Certain “(Don’t Fear) The Reaper” in episode 4. The other needle drops from the early season are Deep Purple’s “Child in Time” and “The Wizard” by Black Sabbath, which are less flagrant offenders though no less vexing. We won’t spoil the title of the songs that were played in the final two episodes, as they can be spoiler-adjacent. But we are certain that these are much worse.

You don’t have to know every time a song has been featured in another TV show or movie to know these are just not deep cuts. Unfortunately, 1899 feels like a bit of a one-trick pony in this regard, leaning very heavily on the anachronistic song choices (at least, they’re anachronistic if the title year is to be believed — possibly part of the show’s larger mystery, who knows) to feel discordant against the period and underlining the characters’ break from reality.

But as each episode comes to a close, the notes they’re hitting don’t amount to much. Music just doesn’t seem to be as important when there are so many questions and mysteries. Too straightforward. This is particularly true when it’s set against Ben Frost’s industrial score (who also contributed to this piece). Dark Wolves raise the children).

Ultimately, it all highlights how much of the show around it isn’t cohereing. At the conclusion of six episodes, critics had given up. 1899 has done little to truly advance its mystery, and less to make its passengers feel like they’re anything but along for the ride. This is the only way. Dark went — weaving its confusing plotlines into a larger tapestry where it all makes sense on rewatch — there’s certainly room for 1899These thoughts will be explored further. The soundtrack is a sign that this show’s main interest are not in its right place.

When the only thing driving a show is the mystery, it’s all going to start feeling reliant on shock value: Compelling characters wash out in favor of setting up the next twist. Storytelling choices are too penned in by subterfuge to feel like they’re meaning anything. All that’s left is the vibe — and when that’s carried without much artistry by songs we’ve all heard a million times there’s not a ton to groove to.